This is a reissue of an Etcetera disc, recorded by the Australian
contemporary music ensemble, ELISION. Barrett is a Welsh composer,
born in 1959. He was a student of Peter Wiegold and is known
for his complex compositions which were influenced by Ferneyhough
in the 1980s.

Ne songe plus à fuir (dream no more of fleeing)
is a work for solo cello, taking its title from a painting by
Roberto Matta, a Chilean surrealist. The atmosphere of this work
is dark and at times disturbing. There are resonances of Xenakis,
Ferneyhough and others in the writing, and the piece is an extreme
virtuoso challenge for the performer. Barrett explores the instrument
in many non-traditional ways, creating a fascinating sound-world
which both challenges and excites.

Earth is a duo for trombone and percussion, an enticing
work with a sense of tribal energy. The rhythmic interplay
between the parts helps the ear through Barrett’s music,
providing a valuable frame of reference. Although these instruments
are
perhaps an unlikely combination, the effect works well, and
the timbral varieties of the trombone are particularly enjoyable.

Next comes the trio for E flat clarinet, electric guitar and
double bass, Another heavenly day. Taking its name from
Beckett’s play, Happy Days, there is a distinct
irony in the title. The first work Barrett wrote for the ELISION
ensemble, this is an interesting work which fuses another unusual
combination of instrumental sounds to good effect. The music
possesses an internal energy which develops through the work,
as the individual parts come in and out of synchronisation with
each other.

The title track of the disc, Negatives is a set of five
pieces for chamber ensemble. The opening is percussive, with
a range of fascinating instrumental sounds contributing to the
overall texture. Each movement has a slightly different feel,
with changing sonorities and altering moods, but retains a link
with the previous one, sometimes overlapping. Various instruments
feature as soloists and the overall effect is of an evolving
musical landscape which is full of detail and intrigue.

The final track on the disc is Codex I, another ensemble
work, which has a bright feel and a highly successful instrumental
combination of clarinet, bass clarinet, oboe, trumpet, trombone
and electric guitar. The electric guitar is particularly effective,
as are the range of brass sounds created through the use of
various mutes. This is an improvised piece, with the structure
provided
by the composer, and this live 2007 recording is an addition
to the previous release of this disc. Of all the tracks on
the disc I enjoyed this one most; it seemed to have a sense
of fresh
energy which is testament both to Barrett’s concept for
the work and also to the committed playing and mature musicianship
of the members of ELISION.

Barrett’s music is imaginative and often challenging;
his style is not immediately accessible but has much to offer
the
listener who is willing to explore his musical language. Multiple
hearings reveal further detail and allow a deeper understanding
of the music. The playing here from ELISION is constantly excellent;
they play with a sense of commitment and understanding, and
the end result is highly effective.

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